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Post by MarianMurdoch on Jan 28, 2010 13:05:08 GMT -5
Wildlife Photographer Ethics
Thursday, July 2nd, 2009
Wildlife Photographer’s Ethics
THE NATURE PHOTOGRAPHER’S CODE OF ETHICS
Compiled by Photography Department Tidewater Community College 1428 Cedar Road Chesapeake, VA 23320
804-549-5190 V/TDD 804-549-5101 To promote the conservation and awareness of our natural heritage through photography, observation and exhibition.
Used with permission from Spook Skelton (spook@exis.net)
Purpose:
The TCC Chesapeake Campus Photography Department, in order to help protect all natural subjects and the environment, proposes a code of ethics for photographers to follow, whether they are operating in national parks, wildlife refuges, wilderness areas or their own backyards. As a photographer, you should always remember that the welfare of nature is of prime importance. You are an intruder and, as such, must respect both living things and the ecosystem. Your aim must always be to preserve our heritage. Courtesy and respect must be shown to all, be they animal, vegetable, mineral or human. Respect encompasses knowledge and understanding of your subject as well as familiarity with natural
history. The law as it affects all natural subjects must always be observed.
Definition:
“Nature photography” is defined as the use of the photographic process to depict all observations of facts and phenomena from the various branches of natural history, including botany, zoology, geology, physics, chemistry, meteorology, paleontology, anthropology, and archaeology, in such a fashion that a well-informed person will be able to identify the subject material and certify to its honest presentation. Human elements, if present, should be unobtrusive and enhance the nature story. Photographs depicting cultivated plants, still-life studies, domestic animals, mounted specimens, museum habits or groups, derivations or any form of photographic manipulation are not considered nature photography, with the exeption of detailed photomicro or photomacro photographs.
PARKS, WILDLIFE REFUGES AND WILDERNESS AREAS:
When driving in these areas, you should be aware of and obey all traffic regulations. When you approach a stopped vehicle, slow down, pause a short distance away and either wait to be waved on or make sure that you will not disturb anything before driving on. Do not box other cars in, particularly when near dangerous animals such as bears. Your passengers, too, should observe normal safety precautions and common courtesies. No one should lean out of windows or play radios or taped music. Nature has a wonderful sound all its own; stop and listen and enjoy all facets of our natural history. If any creature shows uneasiness caused by your presence, move off rather than force the creature to move. It is unethical to throw anything into an area that might cause harm or provoke the creature to move out of its natural habitat. Thoughtless conduct could force a creature to leave its familiar surroundings because it finds you an unbearable nuisance. If this happens, the whole ecosystem can be disturbed.
NESTS AND DENS:
It is particularly important that photographic prints or viewing of breeding creatures be undertaken only by those who understand the breeding behavior. Take advantage of books and nature study groups to further your knowledge before attempting this type of photography. It is generally best to use a blind in order not to disturb the creatures. Do not erect a blind on regularly used approach lines or where the attention of the public or predators is likely to endanger the subject. You should not approach a nest or den too closely; careful judgment is necessary. An occupant or his/her equipment should not be visible through or from outside the blind. Do not keep a blind set up if the parents do not return to their young within approximately half an hour, especially on very cold or very hot days. Although the best time for viewing and for photographing is at the time of the hatch or birth, this is not the time to erect a blind. You must wait until the reaction of the subject’s parents is firmly established before proceeding. Fledglings should never be handled or removed from the nest, nor may you restrict their movements while photographing. Scientific banding is acceptable in photographs. “Gardening,” i.e., interference with surrounding vegetation, is sometimes necessary for photography. This should be kept to a minimum, not exposing the subject to predators, people or adverse weather. Gardening should be carried out by tying back but not cutting off branches and grasses. In between each shooting session and at the conclusion of all sessions, everything should be returned to the way it was and tracks to and from the area should be inconspicuous.
INSECTS & REPTILES:
Removal of these creatures to a studio for photographing is acceptable, provided that they are returned to their original habitat as soon as is practical. Proper permission should be secured from authorities prior to removing creatures from an area. Chilling, freezing and light anesthesia of any creature is not acceptable. The photographer must not endanger the life of any specimen. Diurnal and nocturnal creatures should be photographed in the early morning or late afternoon or when the weather is colder and they are inactive. Photographing these creatures in the field would undoubtedly tell a more accurate story.
TIDE POOLS:
Tide pool animals have a definite role in our ecology, and creatures living on top of or below rocks will die if those rocks are turned over and not replaced the way they were found. Only photographers knowledgeable about tide pool ecology should work with tide pools.
GEOLOGY:
The appearance of pictographs and petroglyphs should never be altered by applying any substance, even the simplest of compounds. Cave formations and crystals should never be removed, broken or tampered with. These ancient arts and structures can never be restored.
BOTANY:
It is most important that preparations to photograph or view one specimen do not involve disturbing others. Avoid trampling on fragile habitats, especially grasslands, marshes and wild-flower patches, because damage to them affects all species in the ecosystem. A competent photographer or botanist should never pick wild flowers. No rarity should be picked or dug up for studio photography or to facilitate the in situ photography of another specimen. Also, no part should be removed in order to photograph another part. If rocks or logs or other objects natural to the area are brought in to provide a scientifically correct but more photogenic background, these should be returned to their original place.
CONCLUSION:
Whatever your interest in nature, be it to photograph or to observe, you will achieve your aim and be able to consider yourself a true naturalist only when you become one with your surroundings. We suggest that the photographing and viewing of any natural subject is best achieved in the subject’s natural surroundings with a minimum of intrusion by the photographer.
Thursday, July 2nd, 2009
Wildlife Photographer’s Ethics
THE NATURE PHOTOGRAPHER’S CODE OF ETHICS
Compiled by Photography Department Tidewater Community College 1428 Cedar Road Chesapeake, VA 23320
804-549-5190 V/TDD 804-549-5101 To promote the conservation and awareness of our natural heritage through photography, observation and exhibition.
Used with permission from Spook Skelton (spook@exis.net)
Purpose:
The TCC Chesapeake Campus Photography Department, in order to help protect all natural subjects and the environment, proposes a code of ethics for photographers to follow, whether they are operating in national parks, wildlife refuges, wilderness areas or their own backyards. As a photographer, you should always remember that the welfare of nature is of prime importance. You are an intruder and, as such, must respect both living things and the ecosystem. Your aim must always be to preserve our heritage. Courtesy and respect must be shown to all, be they animal, vegetable, mineral or human. Respect encompasses knowledge and understanding of your subject as well as familiarity with natural
history. The law as it affects all natural subjects must always be observed.
Definition:
“Nature photography” is defined as the use of the photographic process to depict all observations of facts and phenomena from the various branches of natural history, including botany, zoology, geology, physics, chemistry, meteorology, paleontology, anthropology, and archaeology, in such a fashion that a well-informed person will be able to identify the subject material and certify to its honest presentation. Human elements, if present, should be unobtrusive and enhance the nature story. Photographs depicting cultivated plants, still-life studies, domestic animals, mounted specimens, museum habits or groups, derivations or any form of photographic manipulation are not considered nature photography, with the exeption of detailed photomicro or photomacro photographs.
PARKS, WILDLIFE REFUGES AND WILDERNESS AREAS:
When driving in these areas, you should be aware of and obey all traffic regulations. When you approach a stopped vehicle, slow down, pause a short distance away and either wait to be waved on or make sure that you will not disturb anything before driving on. Do not box other cars in, particularly when near dangerous animals such as bears. Your passengers, too, should observe normal safety precautions and common courtesies. No one should lean out of windows or play radios or taped music. Nature has a wonderful sound all its own; stop and listen and enjoy all facets of our natural history. If any creature shows uneasiness caused by your presence, move off rather than force the creature to move. It is unethical to throw anything into an area that might cause harm or provoke the creature to move out of its natural habitat. Thoughtless conduct could force a creature to leave its familiar surroundings because it finds you an unbearable nuisance. If this happens, the whole ecosystem can be disturbed.
NESTS AND DENS:
It is particularly important that photographic prints or viewing of breeding creatures be undertaken only by those who understand the breeding behavior. Take advantage of books and nature study groups to further your knowledge before attempting this type of photography. It is generally best to use a blind in order not to disturb the creatures. Do not erect a blind on regularly used approach lines or where the attention of the public or predators is likely to endanger the subject. You should not approach a nest or den too closely; careful judgment is necessary. An occupant or his/her equipment should not be visible through or from outside the blind. Do not keep a blind set up if the parents do not return to their young within approximately half an hour, especially on very cold or very hot days. Although the best time for viewing and for photographing is at the time of the hatch or birth, this is not the time to erect a blind. You must wait until the reaction of the subject’s parents is firmly established before proceeding. Fledglings should never be handled or removed from the nest, nor may you restrict their movements while photographing. Scientific banding is acceptable in photographs. “Gardening,” i.e., interference with surrounding vegetation, is sometimes necessary for photography. This should be kept to a minimum, not exposing the subject to predators, people or adverse weather. Gardening should be carried out by tying back but not cutting off branches and grasses. In between each shooting session and at the conclusion of all sessions, everything should be returned to the way it was and tracks to and from the area should be inconspicuous.
INSECTS & REPTILES:
Removal of these creatures to a studio for photographing is acceptable, provided that they are returned to their original habitat as soon as is practical. Proper permission should be secured from authorities prior to removing creatures from an area. Chilling, freezing and light anesthesia of any creature is not acceptable. The photographer must not endanger the life of any specimen. Diurnal and nocturnal creatures should be photographed in the early morning or late afternoon or when the weather is colder and they are inactive. Photographing these creatures in the field would undoubtedly tell a more accurate story.
TIDE POOLS:
Tide pool animals have a definite role in our ecology, and creatures living on top of or below rocks will die if those rocks are turned over and not replaced the way they were found. Only photographers knowledgeable about tide pool ecology should work with tide pools.
GEOLOGY:
The appearance of pictographs and petroglyphs should never be altered by applying any substance, even the simplest of compounds. Cave formations and crystals should never be removed, broken or tampered with. These ancient arts and structures can never be restored.
BOTANY:
It is most important that preparations to photograph or view one specimen do not involve disturbing others. Avoid trampling on fragile habitats, especially grasslands, marshes and wild-flower patches, because damage to them affects all species in the ecosystem. A competent photographer or botanist should never pick wild flowers. No rarity should be picked or dug up for studio photography or to facilitate the in situ photography of another specimen. Also, no part should be removed in order to photograph another part. If rocks or logs or other objects natural to the area are brought in to provide a scientifically correct but more photogenic background, these should be returned to their original place.
CONCLUSION:
Whatever your interest in nature, be it to photograph or to observe, you will achieve your aim and be able to consider yourself a true naturalist only when you become one with your surroundings. We suggest that the photographing and viewing of any natural subject is best achieved in the subject’s natural surroundings with a minimum of intrusion by the photographer.
